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Mongrel Media Mongrel Media Presents BEING ELMO A Film by Constance Marks (76 min., USA, 2011) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html BEING ELMO: A PUPPETEER’S JOURNEY A FILM BY CONSTANCE MARKS SYNOPSIS BEING ELMO: A PUPPETEER’S JOURNEY is the intimate and captivating new non-fiction film directed by Constance Marks. Every day, millions tune in to Sesame Street to see one of the world’s most adored and recognizable characters - a furry red monster named Elmo. Yet, with all of Elmo’s fame, the man behind the icon is able to walk down the street without being recognized. Meet Kevin Clash. As a teenager growing up in Baltimore in the 1970s, Kevin had very different aspirations from his classmates—he wanted to be a puppeteer. More specifically, he wanted to be part of Jim Henson’s team, the creative force responsible for delivering the magic of Sesame Street on a daily basis. With a supportive family behind him, Kevin made his dreams come true. Combining amazing archival footage with material from the present day, filmmaker Constance Marks explores Kevin's story in vivid detail and chronicles the meteoric rise of Jim Henson in the process. Narrated by Whoopi Goldberg and including interviews with Frank Oz, Rosie O’Donnell, Cheryl Henson, Joan Ganz Cooney and others, this insightful and personal documentary offers up a rare, behind-the-scenes look at Sesame Street and the Jim Henson legacy. Winner of numerous film festival awards including a Special Jury Prize at the 2011 Sundance Film Festival, BEING ELMO: A PUPPETEER’S JOURNEY is directed by Constance Marks and produced by Constance Marks, Corinne LaPook and James Miller. The film is co-directed by Philip Shane and written and edited by Philip Shane and Justin Weinstein. James Miller is the film’s cinematographer. 2 BEING ELMO: A PUPPETEER’S JOURNEY A FILM BY CONSTANCE MARKS FILMMAKER STATEMENT WHY BEING ELMO? Oddly, I never really decided to make BEING ELMO: A Puppeteer's Journey. Nine years ago, my husband James Miller who is a DP, was shooting at Sesame Street. Our daughter Sophia was about two years old and James brought a brag book to the set. When he returned that evening, he handed me a VHS tape and to my amazement Kevin Clash had agreed to make a tape for Sophia in which Elmo and James were looking at the pictures and addressing Sophia through the camera. Who was this man, I wondered, who took considerable time to make a tape for complete strangers? I had seen the furry red one on Sesame Street and always found him plucky and very appealing. I noticed the way the puppet was manipulated, this character was conveying a wide range of behaviors with tremendous subtlety. I was intrigued. Years later, James called me from the set. He said "I'm at Sesame today and Kevin Clash is here." Impulsively, I blurted out: " You tell that man that your wife has a crush on him and wants to make a documentary about him.” That night James came home with Kevin's assistant’s phone number. That was it. No heavy deliberations or soul searching -- just an opportunity that I grabbed and thought: if he says yes, I'll figure out a way to make it work. In an interview, Frank Oz explains that when anyone puts a puppet on their arm, they say things through the puppet they would not ordinarily say. This is true for Kevin, too. We were screening footage of Elmo and Tyra Banks who were co-presenters at the Daytime Emmy Awards, and Tyra was wearing a very revealing dress. Elmo proclaimed "NICE DRESS... HUBBA HUBBA!!!" as his face scrunched up in excitement. It's hard to imagine Kevin saying that, but Elmo, no problem. As Kevin's mother says in the film, "Kevin comes alive through Elmo." GETTING STARTED IN FILMS When I was 13, I had a friend whose father was a filmmaker. They introduced me to the world of filmmaking. I always connected to images and music more easily than the written word. My father bought me a tiny splicer, some super-8 film for the family camera, and a tiny reel-to-reel viewer. I worked and played with those tools for hours on end. From a young age, I knew I wanted to find a way to work at this craft as a career. The biggest break I got was when the legendary filmmaking team David and Albert Maysles hired me. I was first a production assistant and then became an assistant editor. Working with them was where I learned what skillful filmmaking looked like. Being surrounded by lots of films that were being cut in their many rental cutting rooms was an education. When the Steenbeck was our editing means, I was syncing dailies for the Maysles. I was very young and inexperienced, so when a call came from Albert Maysles asking to speak to the assistant editor, I was astonished. He wants to talk to me? Why? Albert explained that I was the first one to see the footage and because they were far away, he needed feedback. He asked me which characters were most compelling; if the lighting was adequate; and if the story seemed interesting. I was learning from the best. This was an 3 invaluable experience and opportunity that taught me the essentials of filmmaking. MAKING BEING ELMO In making BEING ELMO, we followed Kevin around the world, as he performed for homeless children in ravaged towns – destroyed by hurricanes or tornados; as he trained other puppeteers in France and Brazil; and right at home on the set Sesame Street. We shot verité footage and conducted several sit down interviews. Our biggest challenge was finding ways to use our verité footage to tell Kevin’s story. Many of the verité scenes we shot were interesting unto themselves, but when these scenes were strung together, they didn’t tell the story in a compelling way. Eventually, we figured out the puzzle: the film was not a verité film with a short segment about Kevin’s past. It’s a film about Kevin’s life employing verité footage to move the story forward. Working on Being Elmo was a reunion for many of us who’d worked on Green Chimneys (Sundance 1997) including DP James Miller, Editor and Co-Director Philip Shane and composer Joel Goodman. Working on BEING ELMO, we added writer/editor Justin Weinstein and producer Corinne LaPook to our team. We really had fun making this film. James and I traveled with Kevin to France, Brazil, Turks and Caicos, Kansas and New Orleans, Texas, Florida. Kevin is loved around the world, and riding in his wake as we traveled was thrilling. Watching Kevin being approached by grateful adults was an unexpected surprise. On one trip to Kansas, we followed Kevin and several other puppeteers who performed for the children of Greensburg -- a town that was literally wiped off the map by a category five tornado. No homes left -- just a few chimneys, bare twigs stuck out of the ground that were once trees, it was a harrowing sight. A lovely woman from nearby knew Kevin was going to be in the area and she made a special trip to meet him. She had written to Kevin years prior to let him know that when her baby daughter was dying, an Elmo doll was the baby's greatest comfort. This little girl, Emma, was buried with her Elmo doll. We learned over and over, when it comes to sick children Kevin is there to comfort them. We filmed as Emma's mom met Kevin in person for the first time. They hugged for a long moment -- she was weeping and thanking him for all the consolation he had brought to her family. But this is not an isolated story -- we have several pictures of the gravestones of children with Elmo carved prominently on them (these scenes did not make it into the film). Kevin is a very unusual man – so impressive. We feel honored that we are able to tell his story. We’ll miss following him. Constance Marks -Filmmaker 4 BEING ELMO: A PUPPETEER’S JOURNEY A FILM BY CONSTANCE MARKS “BEING ELMO” SUBJECT BIO | KEVIN CLASH Kevin Clash, whose characters include Elmo, Hoots the Owl and Baby Natasha, is Sesame Street’s Senior Puppet Coordinator and Muppet Captain as well as Sesame Workshop’s Senior Creative Consultant. He began building puppets at the age of 10 and performed on Baltimore’s Harbor Front and local television as a teenager. Clash’s first television work was for the CBS affiliate in Baltimore. He came to Sesame Street after attracting the attention of Muppet designer Kermit Love. Clash’s film credits include Jim Henson’s 1986 fantasy film Labyrinth, Teenage Mutant Ninja Turtles I and II, Muppet Treasure Island, Muppets from Space and Elmo in Grouchland. His television work includes The Great Space Coaster, Captain Kangaroo, Dinosaurs and Muppets Tonight. He also was Co-Executive Producer for Elmopalooza, CinderElmo, and Elmo’s World; Co-Producer for The Adventures of Elmo in Grouchland; and also directs Sesame Street episodes and other projects. Clash directed and co-produced the DVD series Sesame Beginnings for Sesame Workshop. Moreover, he directed and was Co- Producer for Sesame Workshop’s outreach DVD Talk, Listen, Connect: Deployments, Homecomings and Changes.
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